The essay addresses the philosophical weight of theather in the thinking of Jacques Derrida, following the discussions that -in a implicit or explicit way- refer to the issue from his first texts. After the exposition of what Derrida conceives as a work of art, the singularity of the theather is described in terms of the yuxtaposition of repetition and representation. This article intends to show that the derridian insistence in the image of the theater has been wrongly understimated by the interpreters, because that practice borrows the logic of borrowing that affirms the model of the lack of model from where the sense is spectrally constructed. As a general mimetology, deconstruction has a theatrical matrix, from where it is introduced to the derridian interpretation of Antonin Artaud's texts.